A Note from the Editor

Mansha Daswani, the editor of World Screen, delivers a rundown of the exclusive interviews and trend pieces you’ll find in our April digital edition and weighs in on the impact of the COVID-19 pandemic.

As I write this editor’s note, it occurs to me that in an alternate COVID-19-free world, I’d be en route to Cannes today, much like those of you reading this (presumably from your homes that have now become your offices).

All of us at World Screen hope that in these strange days, you are safe, and healthy, and like us, doing everything you can to maintain business as usual even when the world is very much not business as usual.

The content we’ve assembled for this special April digital edition of World Screen has been in the works for months. These interviews and features were all destined for our MIPTV issue. When Reed MIDEM revealed the inevitable last month, that MIPTV would need to be canceled this year, the entire World Screen team felt a collective gut punch. Ricardo Guise, our president and publisher, made the difficult decision to release all of our MIPTV print advertisers from their contracts and cancel the publication of this edition. But we knew we still wanted to do something with all of this amazing content. Hence the creation of this digital-only edition. In it, RTL Group CEO Thomas Rabe sheds light on his priorities at the European media giant, JB Perrette discusses what’s driving the gains at Discovery International, Courteney Monroe talks about her successful programming strategy at the National Geographic Television Networks and FOX Entertainment’s Rob Wade weighs in on the quest for innovation in the format business. We hear about the latest trends in Scandinavian drama, pop-science shows, eco-themed kids’ series and cooking formats. And our special report on producers operating in this era of peak TV explores the development process and the chase for scale, featuring insightful Q&As with Company Pictures’ Michele Buck, The Ink Factory’s Simon Cornwell, Sid Gentle’s Sally Woodward Gentle, Playground’s Colin Callender, Kinetic Content’s Chris Coelen, Nadcon Film’s Peter Nadermann and Wild Sheep Content’s Erik Barmack.

Of course, this is a different world than the one we did these interviews in, as series production and sports grind to a halt in many markets across the globe and advertisers scale back their budgets. All of the executives we feature in these pages are monitoring changes in the market and will adjust their strategies accordingly. We’ll continue to cover how companies are responding to the pandemic across our online assets.

The ramifications of this global shutdown are unknowable, with no clear, definitive end in sight. But there are a few things we do know. Media consumption is up, way up. Obviously for news, but for lots of other shows too. “In terms of shifts in genre and programming trends, the economic impact of COVID-19 on the industry is likely to lead to a greater necessity for lower-budget shows and increased interest in genres such as factual entertainment,” Girts Licis, the head of strategy at K7 Media, tells World Screen. “It is possible there could also be a resurgence of low-risk revivals rather than developing costly new formats. We can expect a further surge in feel-good, society-enhancing and charitable programming, which is usually the case in turbulent times.”

Keep a close eye on cloud production and broadcast, Licis says, referring to “shows that are produced remotely, edited online and streamed over the cloud.” Licis points to developments in China as an example. “It not only describes a new wave of programming but also carries a social message urging people to stay at home. Some new shows that have premiered in China recently include a talk show/quiz show mix hosted by a celebrity from the studio with participants Skyping in, sharing the latest news and playing quiz games; a daily lunchtime reality show featuring a celebrity interacting live with viewers while cooking at home; and a Friday night cloud show centered around celebrities vlogging about their lives staying at home.”

Broadcasters are eager to fill their slots as production on shows slows down and schedules are left wide open from the postponement of sports events, including EURO 2020 and the Tokyo Summer Olympics. SVOD platforms like Netflix and Amazon, which have shifted more to original production in recent years, will also look to acquisitions in a quest to keep their slates full, retain subs and attract new customers. “In the near term, the coronavirus will actually boost SVOD subscriptions, as well as viewing of these services, as an ever-growing number of consumers adopt social distancing or are forced into quarantine,” said Michael Goodman, director of TV and media strategies at Strategy Analytics, of the company’s recent SVOD projections.

We’ll be here to help our readers navigate the uncertain days ahead. And we want to hear from you about how you’re coping with this all-around disruption. Drop me a note on mdaswani@worldscreen.com.